2046 2004 2160p UHD BluRay REMUX DV HDR HEVC DTS-HD MA 5 1-MiLQ

He was a writer. He thought he wrote about the future but it really was the past. In his novel, a mysterious train left for 2046 every once in a while...

Year: 2004
Duration: 129 min
Release date: Wednesday 29th September 2004
Genre: Drama, Fantasy, Romance, Sci-Fi

    

Rating

7.5/10
(20351 Votes)

0
    
Your Rating

Stars:
Tony Leung Chiu Wai, Ziyi Zhang, Faye Wong, Li Gong

2046.2004.2160p.UHD.BluRay.REMUX.DV.HDR.HEVC.DTS-HD.MA.5.1-MiLQ

---GENERAL----
Size...........: 59.1 GiB
Container......: Matroska
Duration.......: 02:08:13.375

---VIDEO----
Codec..........: HEVC, Dolby Vision, Version 1.0, Profile 7.6, dvhe.07.06, BL+EL+RPU, no metadata compression, Blu-ray compatible / SMPTE ST 2086, Version HDR10, HDR10 compatible, PQ
Resolution.....: 3840x2160
Bit rate.......: 56.9 Mb/s
Frame rate.....: 24.000 fps

---AUDIO----
Format.........: DTS-HD Master Audio
Channels.......: 6 channels
Sample rate....: 48.0 kHz
Bit rate.......: 3 967 kb/s
Language.......: Multiple languages (Restored Surround Mix / Cantonese, Mandarin, Japanese / DTS-HD Master Audio / 5.1 / 48 kHz / 3966 kbps / 24-bit)

---AUDIO----
Format.........: Dolby TrueHD
Channels.......: 6 channels
Sample rate....: 48.0 kHz
Bit rate.......: 3 256 kb/s
Language.......: Multiple languages (Original Surround Mix / Cantonese, Mandarin, Japanese / Dolby TrueHD Audio / 5.1 / 48 kHz / 3256 kbps / 24-bit)

---AUDIO----
Format.........: Dolby Digital
Channels.......: 6 channels
Sample rate....: 48.0 kHz
Bit rate.......: 640 kb/s
Language.......: Multiple languages (Compatibility Track / Cantonese, Mandarin, Japanese / Dolby Digital Audio / 5.1 / 48 kHz / 640 kbps)

---AUDIO----
Format.........: FLAC
Channels.......: 2 channels
Sample rate....: 48.0 kHz
Bit rate.......: 1 084 kb/s
Language.......: English (Commentary by Wong Kar-Wai expert Stephen Teo / FLAC Audio / 2.0 / 1083 kbps / 24-bit)

---SUBTITLES---
Language.......: English (MUBI), UTF-8
Language.......: English (OCR), UTF-8
Language.......: English (PGS), PGS
Language.......: Chinese (Simplified) (Simplified / Catchplay+), UTF-8
Language.......: Chinese (Simplified) (Simplified / PGS), PGS
Language.......: Chinese (Taiwan) (Taiwan), UTF-8
Language.......: Chinese (Traditional) (Traditional), PGS
Language.......: Danish (DK), UTF-8
Language.......: Dutch, UTF-8
Language.......: Finnish, UTF-8
Language.......: French (FR) (Metropolitan / OCR), UTF-8
Language.......: French (FR) (Metropolitan / PGS), PGS
Language.......: German (iTunes), UTF-8
Language.......: German (PGS), PGS
Language.......: Italian, UTF-8
Language.......: Japanese (Forced), PGS
Language.......: Japanese (Forced / Alternative Font), PGS
Language.......: Korean, PGS
Language.......: Norwegian Bokmal, UTF-8
Language.......: Portuguese, UTF-8
Language.......: Spanish (Castilian), UTF-8
Language.......: Swedish, UTF-8
Language.......: Turkish, UTF-8

Sources
Source #1: Koch Media 2022 GER UHD Blu-ray: Video, subs (Thanks MIXER!)
Source #2: The Jokers 2025 FRA UHD Blu-ray: Restored surround mix, subs (Thanks P4RT4GE!)
Source #3: QOL 2006 Cannes Film Festival 100-Disc Limited Edition PAL HD DVD; via original ripper's HANDJOB encode: Original surround mix (Thanks!)
Source #4: Madman Entertainment 2005 R0AU PAL DVD: Commentary, named chapters (Thanks wariosdabest!)
Source #6: Criterion 2021 USA Blu-ray: Subs (Thanks MM!)
Source #7: Nova Media 2020 KOR Blu-ray; via NOAH remux: Subs (Thanks Nio, NOAH!)
Source #8: TC Entertainment 2023 JPN Blu-ray: Subs (Thanks YoungCloud!)
Source #9: iTunes, MUBI, Catchplay+ WEB-DLs: Subs (Thanks OzONE, CHDWEB!)

Special thanks to SAIN and vevv for thier help with collecting sources and to xzin for helping with the Chinese subtitles.

Notes
[*]Video demuxed from Source #1 with latest DGDemux with merge DV flag enabled. No pre/post-merge RPU differences or L5 offest/scene refresh errors were detected in the CM v2.9 MEL. Only L6 metadata was incorrect, but nothing affecting playback. Video track was sped up from 24/1.001 -> 24 fps with mkvmerge to avoid reencoding restored surround audio. Despite GER UHD using BD66 compared to FRA UHD's BD100, the encodes are very close in quality. In motion, the two sources are virtually indistinguishable, but FRA UHD loses a small amount compared to GER UHD in high frequency areas such as facial lines, ears, fingers, clothing wrinkles, etc. The grades and DV quality on each disc were nearly identical (FRA UHD was also CM v2.9), so GER UHD was selected for slightly higher detail and grain retention.
slow.pics
[*]Several sources were used for audio comparison to determine the proper audio mixes to choose, as Wong Kar-Wai often changes his films between subsequent releases. Fortunately, there appear to be only two significantly different audio masters available for this film: an original master used for all physical releases 2004-2020, and the master from the 2021 restoration used on all subsequent releases. The main difference between the two tracks is in the use of LFE and different panning in the front channels. These distinction can be seen clearly when comparing all available sources in chronological order by release date. Note the change in character after the 2021 remaster in the Criterion audio and all subsequent releases. Both mixes are high quality and enjoyable, but the restored mix was chosen as the default due to the properly low-passed LFE track. RMS normalized samples.
slow.pics[/spoiler]
[*]DTS-HD MA restored surround mix demuxed from Source #2, trimmed of loud The Jokers intro card and synced. Of the available sources for the restored mix (Vers�til Home Video 2025 BRA Blu-ray and Catchplay 2025 TWN Blu-ray were unavailable for comparison), each has its strength and weaknesses which I have documented here and attempted to fairly represent in the linked samples. One thing to note about the restored mix is that LFE is only active for around 4 minutes in the intro, 4 minutes in the outro, and roughly 10 seconds in between. That being said, the LFE is quite pronounced during these sections. In summary, Criterion (as is typical) applied an overly wide notch filter around 15.5 kHz to eliminate a buzz tone that isn't even present in each track for the majority of the runtime (see sample 4). Despite this, it has the best DR in the non-LFE channels. GER UHD was 16-bit and dithered. JPN and FRA contain a small amount of limiting compared to USA and GER (see sample 1), but FRA has the overall best dynamic range, particularly in the LFE track, which is noticeable (see sampeles 2 and 3.) RMS normalized samples, spectograms, power spectra, waveforms, and dynamics:
slow.pics
[*]DD 5.1 original surround mix from Source #3 converted losslessly to 24-bit FLAC, retimed, synced, encoded to TrueHD + 640 kbps DD compatibility track with DEE. Proper pitch was verified against multiple NTSC tracks when converting from PAL to NTSC framerate. Unfortunately, the audio from this very rare disc was not available in the original DTS container, but the 640 kbps DD audio from the HANDJOB encode still had plenty of detail and was superior to all of the other available sources for the original mix. In particular, all of the DVD audio tested was harshly clipped and noise gated in some instances, particularly in the surround channels. The noise gating was even more pronounced in the EOS 2014 KOR and Nova 2020 KOR Blu-rays, which appear to have used the same mix with duplicated surround channels that were harshly noise gated. The only major flaw with the HD DVD audio is that the LFE track contains what appears to be a lowpassed mix of the L and R channels, resulting in some errant dialogue and music content below ~1kHz coming through. Despite this, the additional fidelity in the front and surround channels make this a clear choice over the DVD and old KOR Blu-rays. There are several DVDs that were unavailable for comparison, but it is unlikely that these would contain audio with higher fidelity in the front and surround tracks than the HD DVD. Spectograms, power spectra, waveforms, and dynamics
slow.pics
[*]DD 2.0 commentary from Source #4 converted losslessly to FLAC, retimed, synced. Proper pitch was verified against multiple NTSC tracks when converting from PAL to NTSC framerate.
[*]Various PGS subs from disc sources demuxed, retimed, and synced where necessary French PGS subs from Source #2 and English PGS subs from Source#5 OCRed and spellchecked. PGS from the JPN disc were forced and did not subtitle the few lines of Japanese dialogue. Two tracks were incldued that differ only in font. I preferred the thinner font, but kept the bolder font as an alternative option that may have better visibility on different playback devices. All PGS subs were tonemapped to 65% white (#a7a7a7). Various SRT subs from web sources synced. Of note, all of the English translations were the the same modulo minor formatting differences. MUBI subs were preferred since they translate both the opening credits and most of the ending credits. Criterion subs only translate the opening credits, but also translate some background dialogue spoken over parts of the end credits that was untranslated in all other available sources. Both were kept for completeness. Available DVDs offered no additional subtitles.
[note]The Portuguese SRT subtitles from MUBI are actually Brazilian, not Iberian. My apologies[/note]
[*]Named chapters from Source #4 retimed and adjusted to nearest scene transition I- or P-frame where necessary. Opening credits chapter added. Additional English named chapters were available from the Criterion Blu-ray, Mei Ah 2004 R0HK NTSC DVD, and Tartan Video 2005 R2UK PAL DVD, but the Madman chapter titles were preffered due to their emphasis on the cyclical and nonlinear structure of the film as opposed to the focus on particular narrative beats in the other chapters. Enjoy!

Screenshots have been tonemapped for reference

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